With Vantaa, Raster-Noton releases for the first time an album by Vladislav Delay aka Sasu Ripatti. Vantaa will be the beginning of a long lasting collaboration, which will extend and deepen the spectrum of the label, whereas it falls in line with releases of, for example, William Bassinsky, Robert Lippok, or Mitchell Akiyama.
Even though complex electronic manipulations are used, Vantaa wants to sound like a piece of nature, resulting in a mixture of techno/dub and organic textures. The tracks oscillate between a decadent, greyish, post-industrial sound cloud and the intimate atmosphere of a vast and desolate Finnish landscape. Ripatti plays with tiny rhythmic bricks that drift and collapse, but nevertheless create spaces that radiate calmness and tranquility. Being an experienced producer, he uses his know-how to layer compact sound fabrics in unusual ways. In this case, these elements arouse associations with gushing water, crackling wood, or growing grass. The tracks on Vantaa merge into each other and their density escalates with „Lauma“ into an energetic climax, which is all at once the ecstatic, shamanic and truly moving peak of the album.
Vantaa‘s style is sensitive and intelligent, but nevertheless subtly stirring and rich in detail. While listening to it, it is possible to completely dive into its matter and detect something new in nearly every bar, or simply let it have an effect as a particular but unobtrusive sideline. With this typical Vladislav Delay aesthetic, Ripatti has acquired an unique and distinctive style that Vantaa, his 10th Vladislav Delay album, deservingly celebrates
01. Luotasi 08:11 min
02. Henki 09:13 min
03. Lipite 07:54 min
04. Narri 07:12 min
05. Vantaa 06:15 min
06. Lauma 08:29 min
07. Levite 06:29 min
08. Kaivue 07:07 min (download only)
Review by Adash, sputnikmusic.com
Finnish electro wunderkind Sasu Ripatti made his name as Luomo over a decade ago, mastering the art of crafting subtly restrained yet achingly sensual tracks of extraordinary length and staying power. The immortal Tessio in particular illustrated his ability to fashion epic tracks that seemingly went nowhere and everywhere at the same time, gloriously uncompromising in both scope and vision. Following his stint as micro-house producer extraordinaire, Ripatti turned his hand to creating wondrously bizarre and genre defying music with experimental techno god Moritz Von Oswald, as well as releasing nine solo albums as Vladislav Delay. Which brings us to his tenth, and perhaps finest release to date. Despite the radical shift in content and form, it soon becomes apparent that Vantaa retains some of the conceptual blueprint that made Vocalcity one of the great dance albums of the decade; Ripatti’s trademark deftness of touch and ear for sensuality ensure that the indubitably lengthy songs never outstay their welcome, constantly revealing novel and exhilarating sounds with each listen.
Yet in contrast to its predecessors, this originality doesn’t make Vantaa an easy listen. Dichotomous yet oddly harmonious melodies merge and vibrate in the dark; humming synths wrap like bark around the crackling beat skeleton as slivers of noise slither and crawl over the body of the music, resembling nothing if not miniscule insects of sound. The impenetrable concrete jungles of Henki oscillate with threatening power before unexpectedly unravelling in majestic deconstructions that would make Derrida stop and stare in wonder. With effortless skill, Ripatti puts you on a road where you know the ends, but the means remain totally indecipherable. Whilst most techno follows a straight and steady four to the floor highway, these songs wind and curve like sea serpents undulating through the dark currents of sound. Groping blindly at the impenetrable wisps of fog, drumbeats stagger drunkenly in a myriad of odd time signatures, whilst disconcerting and alien melodies whisper, sparkle and throb underneath. Multiple listens are needed to discern the sonic details in all their muted splendour; the lovingly programmed percussion, utterly inebriated yet carefully calculated at the same time, is astounding before one even turns an ear to the intricate melodies swirling overheard. Even jarring oddball epic Lauma, with its pounding beat reminiscent of Basic Channel’s most powerful work, is irresistibly hypnotic in its effortlessly enthralling progressions.
Raster Noton releases have always had the bizarre tendency to be both utterly unfathomable and agonizingly fascinating at the same time, and their latest offering is no different. Comforting yet totally alien, enigmatic yet gently endearing, Vantaa is perhaps the album of the shadowy electronic leftfield this year. So delay those end of year lists, Vlad; this endlessly spellbinding work of art may just end up stealing your intellect as well as your gently fluttering heart.
Review by Eric Grandy, pitchfork.com
It’s been more than a decade since Finnish producer Sasu Ripatti, under his Luomo alias, redefined expectations for vocal house with his micro-masterpiece Vocalcity. In the years since, as vocal house has made a comeback in more full-throated, traditionalist terms, Ripatti’s kept Luomo shifting, his productions growing increasingly crisp and functional, gradually sweating off the liquid murk of his early releases to emerge as cold and bright tech-house.
While Luomo’s evolved, Ripatti’s other best known alias, Vladislav Delay, has remained devoted to a singular vision of ambient techno and cold digital dub. With few digressions– such as last year’s exploration of acoustic space and live instrumentation with the Vladislav Delay Quartet– Vladislav Delay’s releases have progressed as a series of subtle tweaks and refinements. Ripatti’s as studious and attentive a sound designer as he is a reinventer of genres, and though he saves his game-changing leaps forward for Luomo, his variations on Vladislav Delay’s themes are immaculately produced and almost as engrossing.
If there isn’t already, there should be a rule that Vladislav Delay only put out albums in the wintertime. Whether it’s the influence of Ripatti’s northern longitude or merely a reflection of some internal aesthetic, Vladislav Delay’s records give off a distinctly frozen feel. Synths hum and hiss white noise like cold wind, drums clatter like ice or crunch like snow underfoot, rhythms break apart from themselves like ice floes. Beyond the individually chilly elements, there’s the overall sense of low light and hibernatory slowness: The tracks play out like a still landscape troubled by only the occasional moving figure. If that makes Vantaa sound more like background than foreground, fair enough. Yet rather than being dull or inhospitable, it makes for a consistently habitable environment.
Some pieces gradually come together– “Narri” coalesces into a little melody, as does “Levite”, the latter teasing a skipping beat out of its soft swaying keys and evaporative sounds. Others, like the title track, seem to be carefully breaking apart as they unfold. “Lauma” might be the most unexpected track, and also the album’s late climax, an initial echo turning into a rapid fan-buzzing vibration and then a pneumatic double-time drum figure not so far removed from gabber.
While any given moment of the album offers a satisfying sonic foothold, you truly get a sense of Ripatti’s skill and vision over the entire course of the record: Hearing any 10 seconds, you might think the stuff static, but Vantaa’s glacial movements carve unpredictable channels. In a way, this music is as simultaneously functional and pleasurable as Luomo’s more active house tracks, only it’s for an opposite function– and a more sedate set of pleasure centers.
Review by Tomass Laninka, musicAddicted
Out of Sasu Ripatti’s many projects, Vladislav Delay bears the heaviest burden of minimalist darkness. One could argue that Luomo is that micro-house with poppy tendencies, celebrated by dance music-savvy listeners. Uusitalo is then an escape from colourful lights into an industrial murk of minimal techno. Then there is his occasional work as Sistol, his weird-glitch experimenting, and sporadic collaborating with Moritz von Oswald Trio. But what about works under Vladislav Delay, his most prolific and complex moniker?
This Oulu-born artist leaves his sparsest textures and the most daring rhythmic structures for strangely named Vladislav Delay. Whether you take his break-through glitchy Multila or subsequent Anima, consisting of just one single hour-long track, Delay has always been a playground for Ripatti’s most diverse creative thinking. The astonishing imaginativeness and openness to many other genres – from field-recordings-based ambient to IDM to industrial – was most prominently documented on his previous record Tummaa which incredibly emphasized the eclectic nature of his Vladislav Delay direction.
However, Ripatti is totally on a different place on his latest full-length Vantaa (Raster-Noton) named by a town which makes up the Helsinki Metropolitan Area and is on the verge of being autonomous from the capital city, but also being an integral part of it. Delay’s sonic Vantaa similarly oscillates somewhere in-between. Two worlds are forming around Vantaa, but inside of it even more. The moist, humid fogginess suggests a cold, but human touch: something you can really approach, touch and feel with parts of your body. Those sounds, as in watery Lipite, drizzle to the ground and soak into an already damp mass. Delay evolves these perceptions with patience and delicate detail. There’s neither sound which is unnecessary, nor is there a beat which would be meaningless – every note has a mission of intermediating this calm, wet wet world.
On the other side of the spectrum is a cold synthesis of computers, amplifiers, transformers and unnamable electronic toolkits which guarantee that everything sticks together. In Delay’s world these are not just the tools; electronic equipment is an equal member of his minimalist work. A perfect example of such technicality and industrial chill is the title-track Vantaa based on a simple slow-mo beat which thickens and gets more complicated and simultaneously artificial.
The abstract cold of Finnish minimal techno is best documented in subsequent Lauma (the excerpt streams above) built on stones of a challenging, but impressive beats which get denser and even more difficult to swallow. Lauma represents the most oppressive track on Vantaa and Delay gets extra points for the brave and terrific accomplishment of this uneasy task. The attempt of digesting those long eight minutes becomes more terrific with every new motive and becomes a terror as Lauma nears to its end.
Luckily, Vantaa is not about contrasts as simple as white versus black. Take tranquil, repetitive Narri which sounds everything from your uncle repairing his boat to a paddle stirring the surface of cold lake. Many moments on Vantaa are so beautifully smooth thanks to their ambiguity and numerous explanations of not only the source, but more importantly, the result. Vantaa is more a synthesis of various Delay’s musical spectrums than a patchwork of beat-driven ambient. The key element which holds his newest album together is an emotional and sonic integrity and the different tendencies suggest diversity. Strong and demanding piece of dynamic, imaginative minimalism.
Review by IQ, othermusic.com
Vladislav Delay returns with a stunning new album on Raster-Noton in what is said to be a new ongoing curatorial series for the label. Vantaa sees him dulling down the freer, more abrasive improvisatory tendencies of his recent Quartet album on Honest Jon’s, instead opting for a gorgeous, shimmering aquatic dronescape that adds up to some of his best work since Luomo’s Vocalcity dropped.
The album begins with two of its roughest, most aggressive tracks, which sound as though someone dropped Andy Stott’s gritty, mud-encrusted dub fabrics into a washing machine filled with honey; they thump, roll, and tumble through a spin cycle that sets up the thick, viscous liquidity that is maintained throughout the album’s entirety. As the record progresses, the heaviness lets up a bit and makes way for a soothing, cyclical ambiance that echoes the more fluid moments of Eno’s Apollo, never losing the steady rhythmic tumble. There’s a brief and brutal penultimate track that throws a thudding jackhammer click-stomp on loop until the album closes with the record’s slowest, thickest, most gorgeous liquid drift, like a float across a serene pool. I’ll be honest, I wasn’t expecting much from this record, as I’ve felt Delay’s releases have personally held diminishing returns for me; Vantaa, however, is one of the best albums Sasu Ripatti has crafted under any of his pseudonyms. Fans of more ambient strains of electronic drift should check this out ASAP. I’m loving this.
Review by Rory Gibb, The Quietus
A new record from Sasu Ripatti, regardless of which guise he’s currently operating under, is always a cause for celebration. As a designer of sound, the Finland-born Ripatti is second to none: he’s possessed of a rare ability to pack a stunning amount of textural and compositional detail into ostensibly minimalist pieces of music. More than that, though – and this is the factor that’s remained at the heart of his entire recording career so far – he’s repeatedly put those technical skills to the service of some of the most sensuous, intricate and emotionally engaging electronic music of the last fifteen years.
Take Luomo, his vocal house project. His 2000 masterpiece Vocalcity’s seamless melding of finely detailed granular textures and off-kilter percussion was rhythmically complex, while remaining both danceable and devastatingly sexy, and proved hugely influential on much of the following decade’s worth of club music. Or his 2006 Tulenkantaja album as Uusitalo, which tightened up Luomo’s looser edges into sumptuous, dubby, glitch-ridden techno. Or his more recent work as drummer for the Moritz Von Oswald Trio, where his jazzy, tactile rhythms were played out on homemade metal drums, adding the spidery clack of arthropod mandibles to the Trio’s sprawling instrumental dub.
Similarly, Vladislav Delay, generally Ripatti’s output for more self-consciously ‘experimental’ (whatever that means) music, never falls below a uniform standard of sonic beauty. That’s one reason why, for what essentially amounts to greyscale, minimalist electronic dub, his records under the Delay alias are unusually accessible to listeners that might otherwise find such a niche concern rather offputting.
Vantaa, his debut for Berlin’s Raster Noton label and first since 2009′s Tummaa (barring this year’s Vladislav Delay Quartet record), is no exception. On the surface it’s a rather uniform listen, having made a slight return to the murky, submerged landscapes and muted tones of his earlier albums for Chain Reaction (2000′s Mutila, one of his best ever records, is quite a close comparison). But it offers astonishingly rich pickings – its pillowy-soft surfaces might have all the edges filed away, but there’s a stunning amount of detail packed into each of its eight tracks. Take ‘Lauma’, one of Vantaa’s more rousing moments. Despite lacking total clarity (like the rest of the album, it’s best to imagine that you’re hearing it as if though several feet of warm water), it builds to a tsuami’s worth of force, crashing and roiling from the speakers for several minutes before gradually spreading outward and losing momentum. Many of this year’s washed-out, bottom-of-a-swimming-pool lo-fi producers take note: this is how to make murky music with real force and physical impact, which necessitates involvement rather than suggesting the listener merely disengage and ‘zone out’.
Last album Tummaa was a departure from the more synthetic forms common to much of Ripatti’s earlier Delay material, which had previously remained more firmly in line with Berlin’s (his home city at the time) dub-techno innovators. Though the response to the album wasn’t as unambiguously positive as with many Delay records, to these ears it was triumph – its best tracks found Ripatti transposing his ear for intricate detail and implicit melody to a sound palette that was far more organic, concerned more with landscape and the natural world than the harder, more urban emulsions of a record like Mutila. Vantaa definitely feels like a post-Tummaa album: it’s geographically varied and deliciously fluid in places, its constant background roar ever-shifting and filling all the cracks in the mix with viscous liquid. Album highlight ‘Levite’ is a stunning seven minutes of pastoral dub techno – the most overtly melodic thing on here, its background drones set the stage for a half-formed beat to begin emerging through the mist. A little like the sultry, shapeshifting dance music of Laurel Halo’s Hour Logic EP, here it sounds as if Ripatti has set a bunsen burner on high heat beneath the album’s shapeless stew, boiling away all the excess liquid until rhythms begin to crystallise out like tiny, hard pebbles of salt.
With Ripatti’s high productivity rate (this is his third album this year, after a new Luomo record Plus and the Vladislav Delay Quartet album), on the surface it might be tempting to presume Vantaa would be ‘just’ another Vladislav Delay record. In many ways it is – he doesn’t dramatically reinvent the wheel here, remaining within similar boundaries that the project has explored since its inception. But it does represent a further stepping stone in Ripatti’s ongoing love affair with dub, delay and decay. It’s certainly one of the most casually beautiful things I’ve heard all year, and comes highly recommended – both for those familiar with this sort of music, and those ready to take the plunge for the first time.
Review by The Milk Factory, themilkfactory.co.uk
The tenth Vladislav Delay album is also his first for Raster-Noton, and here Ripatti returns to the more familiar textured atmospheric surroundings he has been skillfully developing over the last twelve years. Infused with dub-heavy grooves and textures, Vantaa is classic Delay material. Following the acoustic escapade of his last effort, Tummaa (The Leaf Label), this is like a return to Ripatti’s core source material, but it is one that’s been so painstakingly modeled and refined over the years that it continues to intrigue and captivate.
The soundscapes are for the most part extremely dense and intricate, with a very particular dynamic running pretty much through the whole record. Melodies are scarce and rarely manage to exist out of the sonic mass for long enough to have any lasting impact. It is easy to rapidly lose any notion of where exactly one is on this album as each each track is engineered to resemble the one before it, its sonic space defined by layers of muffled sound waves and comatose rhythmic patterns. Right from the opening moments, Ripatti’s ethereal fog covers everything and renders sounds with vague outlines. If percussions or instruments can be substantiated, they never can be identified for certain. Interestingly though, despite the nebulous aspect of the music and the intense sonic processing, it is the incredible detailing of these soundscapes which rapidly becomes the most prominent feature here. Tiny components are scattered throughout and define these compositions, whether it is the rhythmic flow of Henki, the tiny percussive particles which floats near the surface of Narri, the bubbling electronics of Vantaa or the pulsating dub of Levite.
Lauma therefore sounds even more of an oddity in this set up. Here, Ripatti tears up the subdued soundscapes and grooves of previous pieces to inflict a surprisingly fierce and relentless beat which only gains in intensity as the track progresses. The infinitely more subtle Levite and Kaivu are a welcome relief from such pressure, and conclude this album on a slightly lighter note.
Review by Johannes Piller, thegap.at
Sasu Ripatti veröffentlicht zum ersten Mal auf Raster Noton. Ambientöser Dub-Techno angereichert mit wilden Subbässen und Spuren von intergalaktischem Funk. Eigentlich unfassbar, wenn in der Promoaussendung steht, dass Vladislav Delay aka Sasu Ripatti zum ersten Mal eine Album auf Raster Noton veröffentlicht. Einer der wichtigeren Figuren elektronischer Musik der vergangenenen beiden Dekaden, bekannt unter zahlreichen Synonymen wie Sistol, Luomo, Bright People und Mitwirkender bei Projekten AGF/Delay oder dem Moritz von Oswald Trio, liefert nun sein mittlerweile zehntes Album als Vladislav Delay auf dem Chemnitzer Label ab.
Seinem Stil bleibt er auch hier treu: Eine Mixtur aus Electronica, Techno/Dub und Soundflächen. “Vantaa“ ist das Resultat jahrelanger Erforschen von Klang, Raum und Rauschen. Auf den insgesamt acht Stücken wird einem die Ästhetik der finnischen Landschaft hörbar vorgeführt. Oder Moment, ist es doch Savanne, Tundra oder das Waldviertel? Durch sein Handschrift, das Schichten und über einander legen von Sounds und tief vergrabenem Soul, schafft Vladislav Delay es Assoziationen herzustellen. Empfindlich und intelligent, zündend und reich an Details. Mit diesen Worten lässt sich “Vantaa“ beschreiben. Doch mit ein bisschen Vorstellungskraft kann man noch unendlich viel mehr in diesem Album entdecken.
Review by Fabrice Vanoverberg, Rifraf
Habitué de la corde raide qui sépare l’indispensable du secondaire, Vladislav Delay inaugure une collaboration avec la maison Raster-Noton – souhaitons qu’elle soit aussi fructueuse que ses échappées aux côtés d’AGF et du Moritz Von Oswald Trio et, surtout, qu’elle laisse de côté les expérimentations foireuses genre ‘Tummaa’. A vrai dire, et c’est devenu une habitude féroce chez Sasu Ripatti, on ne sait trop sur quelle jambe fricoter à l’approche d’une nouvelle étape de sa discographie. Variation dub techno épousant les contours élégants d’une minimale épurée, ‘Luotasi’ imprime dès le départ un rythme faussement alangui – il éloigne sans doute définitivement le producteur finlandais des dancefloors en échange d’une galerie d’art contemporain où l’on guette le moindre pas transversal. Saccade ambient techno (en sourdine) d’une splendide beauté sonore, ‘Henki’ est un temps fort de l’album, sorte de confrontation magnifiée entre Lawrence English et GAS dont on ressort grandi. Le troisième track ‘Lipite’ s’inscrit en vrai marqueur de la plaque, qui résiste d’autant mieux aux écoutes prolongées que l’on met un frein à nos vies sans doute trop fébriles. Autre moment (presque) de grâce, ‘Narri’ évoque, ô bonheur, un transfert espace-temps de la mythique série ‘Made To Measure’ en notre décennie, version R-N indeed, alors que le morceau-titre renvoie à M. Wolfgang Voigt en mode dubstep pour élégants distingués. On aime.
Review by Frank Sawatzki, musikexpress.de
Der finnische Electronica-Meister debütiert auf dem Qualitätslabel aus Chemnitz mit großen, formschönen Klangblöcken: Passagen von Vladislav Delays Frühwerk Anima (2001) wurde ja eine gewisse Ähnlichkeit mit den Pink-Floyd-Veröffentlichungen aus der Meddle-Ära bescheinigt, damit war wohl eine dem Prog-Rock der Seventies ähnliche Haltung gemeint. Vielleicht speiste sich der Vergleich auch aus der Beobachtung, dass der finnische Electronica-Künstler seine Tracks gerne wie ein Stück Natur klingen lässt; bearbeitete, digital gefilterte Natur, in der sich Sounds und Rhythmen in langen Zyklen fortentwickeln dürfen. Vantaa ist das erste Album von Vladislav Delay für das Chemnitzer Raster-Noton-Label. Der Finne spielt darauf mit den Assoziationen, die in den großen, formschönen Klangblöcken wohnen, man mag Wasserbewegungen hören, dem Fällen von Bäumen beiwohnen, im selben Moment aber positioniert sich diese Musik als Noise, abstrakt und post-industriell. So bleibt’s spannend after all those years. Die achteinhalb Minuten von „Lauma“ im hinteren Teil von Vantaa machen dann kurzen Prozess mit dem Thema des Albums: ein technoides Biest, das jede Bewegung niederknüppelt.
Review by Klaus Boss, hifly
Vladislav Delay aka Sasu Ripatti returns with a full-length for Raster-Noton, which is a fullfledged montage of the well-known Vladislav Delay sounds. Where most of the album are in favour of the held back and reluctant ambience mastered so well by Ripatti, there’s room for the unexpected. ‘Lauma’ seems to appear out of literally nowhere and strikes down with full force like lightning from a clear sky. Rapidfire doubletime claps and wobbling synthfigures clocks in at 180 beats per minute in a eruptive frenzy of modulation. Delay has by no means lost his touch and rest assured that you want this album.
Review by ts, Rifraf
Vladislav Delay is een stuk bekender in hipsterkringen, toch is ‘Vantaa’ wat ons betreft van het beste dat hij al heeft laten horen. Waar de Fin de neiging heeft om ófwel te kwistig met beats te strooien, ófwel volledig te verzinken in obscure soundscapes, behoudt dit album een mooie balans tussen de twee. Intelligente elektronica, dat wel, maar de ritmepatronen op ‘Vantaa’ blijven onderhuids – en op het extatische ‘Lauma’ na levert dat een paar onverwacht stille nummers op.
Review by Federico Spadavecchia, Frequencies
Ritorno alla via solitaria per Sasu Ripatti che, dopo aver trascorso agli ultimi due anni a fare da percussionista nel Moritz Von Oswald Trio, riprende in mano l’alter ego di Vladislav Delay per il suo decimo album. Pioniere della musica elettronica contemporanea l’artista finlandese ha raccontato la sua visione creativa celandosi dietro diversi moniker di modo da evidenziare di volta in volta la particolarità del progetto. Sempre in anticipo sui tempi, forse non tutti sanno che ad esempio il termine nu house è stato utilizzato per la prima volta già nel 2002, proprio in riferimento a Sasu che, all’epoca appena ventitrenne, pubblicava Vocalcity questa volta come Luomo, salvo poi dichiarare di trovare l’house in generale noiosa e di non provare alcun interesse verso di lei. E’ molto interessante anche il suo rapporto nei confronti della tecnica produttiva, perennemente critico a causa di un uso ormai standard della tecnologia digitale, che lo ha portato a cercare soluzioni alternative culminate nell’esperienza del Trio.
Vantaa è la risposta ai suoi dubbi sull’elettronica moderna che tutte le esperienze fin qui fatte da Sasu hanno suggerito a Vladislav, a cominciare dalla scelta della label, quella Raster Noton stella polare della ricerca matematica/musicale, ed allo stesso tempo amatissima dai Techno heads. Basta con le micro structures, voci e melodia classicamente intesa. Ispirato dal paesaggio post industriale finlandese (Vantaa è effettivamente il nome di una città), l’autore lascia che i drones si sostituiscano alla nebbia mentre frattali e beats sincopati dipingono su una scala di grigi acqua, nuvole, sospiri e paranoie.
Nelle vaste pianure del nord, dove la terra scompare nei ghiacci, il panorama non sembra mai cambiare, ma basta un pò d’attenzione per comprendere la costante mutazione della cose e dell’intensa attività di migliaia organismi invisibili ad occhio nudo. Le tracce si susseguono come unico movimento di una sinfonia futurista, facendo cadere l’ascoltatore in uno stato estatico/catatonico. Col passare del tempo le pulsazioni in partenza ovattate si fanno via via più presenti fino alle cavalcate finali di Lauma e Levite. Un album per chi non ha paura di restare intrappolato in una dimensione parallela.
Review by notodo.com
Han pasado dos años desde que Sasu Ripatti, uno de los exploradores más hábiles del ambient digital y de sus encrespamientos glitch infrasónicas y tecnócratas, entregó su último trabajo largo para Leaf (Tummaa), aunque no ha dejado de producir en su profusa carrera singles y epés en los que dilatar su experiencia y bajo el seudónimo de Vladislav Delay u otros de sus múltiples alias. Para el sello alemán raster-noton, cuna de la experimentación electrónica posmoderna, publica su último y décimo trabajo con nombre de ciudad sueca: Vantaa. En este largo de blanca electrónica ambiental surcada por roturas y minimalismos de efectos gélidos, abstracción y detallismo, querencias dubstep adormiladas, y nebulosas de ceros y unos, el finlandés vuelve a procurar poco menos que admiración y culto en su inteligente y sensible electrónica. Politexturas, ruido níveo, recovecos de ligeros mantras, beats de distinto grave y alto amorfo, son el lenguaje con el que formula estos nuevo ocho cortes de los que se compone. Una exquisitez precisa con la dactilar de uno de los genios de la electrónica contemporánea
Review by Eric Serva, France Musique
Sasu Ripatti est un percussionniste finnois qui utilise de nombreux pseudonymes pour présenter son travail, mais c’est sous celui de Vladislav Delay que sa carrière, en tant que musicien électronique, a véritablement pris une ampleur internationale. Il signe donc sous ce sobriquet un nouvel album d’une musique électronique instrumentale abstraite à la structure très dense, sans respiration, une espèce de brouillard sonore organique un peu étouffant, contemplatif et souvent mélancolique. Tout cela est à l’image de ce que nous pouvons imaginer en musique des paysages du grand nord qui inspirent bon nombre d’artistes de ces contrées. Sur ces compositions aux textures intenses se succèdent des rythmiques souvent complexes qui nous rappellent que Valdislav Delay est percussionniste de formation, il continue de jouer beaucoup de jazz au sein du Vladislav Delay Quartet en marge de sa carrière de musicien électro-expérimental qui nous intéresse ce soir. Cet album est édité au catalogue de l’incontournable label Raster Noton
Review by Sven Schlijper, kindamuzik.net
Clicks en cuts begonnen Vladislav Delay een paar jaar geleden nogal de keel uit te hangen. Dus laveerde de Fin – echte naam Sasu Ripatti – langs ambient en jazz, noise en funk. Met Vantaa keert hij weer terug op het honk. Hij is daarvoor een langlopende verbintenis aangegaan met Raster-Noton, een huis waar hij zielsverwanten als William Basinski, Robert Lippok en Mitchell Akiyama tegenkomt. Natuurlijk wordt in de dubstephype – zelfs Korn denkt wat in die melk te brokkelen te hebben – de wobbelende subbas vol opengedraaid op de partijtjes die overal wortel schieten. Pioniers hebben allang het idee dat de rek eruit is en zoeken nieuwe wegen voorwaarts om de boel kruidig te laten smaken. Delay kiest daarin een opvallende eigen koers.
Op Vantaa bouwt hij ingenieuze en complexe elektronische collages op uit minimale, ambient geluiden. Het hoog ritselt, het laag ronkt en rommelt. Steeds weer echter weet Delay zijn composities een natuurlijke en organische textuur mee te geven. Zo kan hij waardig heen en weer bewegen tussen postindustriële kilte, afstandelijkheid en vergezichten die doen denken aan muziek die de Finse toendra zelf zou maken. Het album ademt een dichtheid die Delay niet vreemd is, maar die je niet zo gauw tegenkomt bij dubstep of minimale elektronische muziek. Lange tijd voelt het alsof je gras hoort groeien; dansmuziek in superslowmotion. Het zijn de details in de sensitieve productie die je bij de les houden.
Het extatische ‘Lauma’ is het uitroepteken op deze tiende van Delay. De opbouw tot dan toe blijkt zo subtiel dat in een zekere euforie eerder uitgezette lijnen bijeen komen en zich een totale sonische logica ontvouwt. Als in de meest complexe romans grijp je met plezier terug naar Vantaa om met gespitste oren te luisteren welke hint of aanwijzing in het hermetische plot je misschien eerder over het hoofd gezien hebt. Een thriller in de vorm van bijzonder vernuftige dub-ambient elektronica.
Review by aquariusrecords.org
It’s been a couple of years since we’ve heard anything purely electronic from the Finnish techno abstractionist Vladislav Delay. Recently, Sasu Ripatti (the man behind the Vladislav Delay moniker) has fronted an electro-jazz quartet, emblazoned with the rather obvious name – the Vladislav Delay Quartet, a project that must have been inspired by Ripatti’s time as the drummer for Mortiz Von Oswald’s hypno-jazz trio which sported an equally eponymous nom de plume. By contrast with all of the wooden explorations of post-Kosmische grooves that hinted at Terry Riley, Can, and Cluster, Vantaa turns back to his celebrated work for Chain Reaction, radiating its dub-inflected electric lullabies from within the heart of the machine. As Vladislav Delay, Ripatti has been known for a decentering form of abstracted techno, where the rhythms are erased, blurred, muted, shifted, and otherwise obfuscated amidst a constantly morphing array of whirring mechanics and granulated synthesis, making this some of the most difficult forms of techno to try to tap out a rhythm to. Vantaa continues brilliantly along this line of thought, with organically spun networks of electrical synapses responding through metabolic fluctuations and dream-like dubbed echoes. By the time, he slips and trips his way to “Lauma” at the end of the record, Delay glides into a high-octane techno pulse without anybody really noticing; but with all the shimmering hypnotic electronics cast suitably in loads of delay patterns, the track becomes more of an accelerated ambient tonic. Vantaa is downright messy for the machinist rigidity one can normally expect from a label like Raster-Noton, but the album is all the more sublime for it
Review by Michael Brodeur, boston.com
Finnish electronic composer Sasu Ripatti’s many pseudonyms are really more like personae; Luomo, Uusitalo, Sistol, Conoco, and Vladislav Delay may be five fingers of the same hand, but they couldn’t be more distinct from each other – though, in this case, “distinct’’ might be the wrong word. Over the course of 10 albums, Ripatti hasn’t so much defined his sound as Vladislav Delay as he has diffused it into an ever-broadening cloud of possibilities. In 2000, Ripatti re-imagined the parameters of house music as Luomo, and the shifting tech-tonics of “Vocalcity’’ became something like a signature. “Vantaa’’ applies this approach to ambient ends – scattering vague melodies through hazy prisms and flinging stray rhythms across a vast melting grid. The tremulous “Henki’’ recalls the hyperslow thump-and-flick of 2005’s ‘Four Quarters’. ‘Lauma’ is urgent, plodding, steely, and dark; “Luotasi’’ gently wavers, its sticky beat hanging in the back like a faint reminder of time. Ripatti’s restraint is still his strongest suit; he’s not so much leading the way as lighting it.
Review by headphonecommute.com
Sasu Ripatti has been on a roll lately. I am mostly impressed by his collaborations with a handful of artists. There is his work with the critically acclaimed Moritz Von Oswald Trio alongside Max Loderbauer and of course Moritz von Oswald, with a handful of releases on Honest Jon’s Records, from Vertical Ascent (2009) to Horizontal Structures (2011). And then, as if working in a trio is not enough, Riptatti formed his very own Vladislav Delay Quartet, comprising of Derek Shirley, Lucio Capece and the one and only Mika Vainio (aka Ø and member of Pan Sonic), with a self titled 2011 release on the very same Honest Jon’s. Not to forget Ripatti’s full work as Sistol on Halo Cyan Records, his output as Uusitalo on Huume, and yet another project release as Luomo on Moodmusic. So when does he have the time to release as Vladislav Delay, and more importantly, for the first time appearing on Raster-Noton? And how does he decide which alias to use for a particular album? I’ll see if I can track him down to answer these questions, but meanwhile let’s get back to Vantaa.
Vantaa is a living, breathing organism of percussive shuffles, synthy wobbles, and bubbling grit. Like a metallic machine, that has its own heartbeat, it gurgles in the open space full of reverb and delay. One rhythm of the track is interleaved with another rhythm, the instruments lingering at their own pace, staggering past each other in interwoven layers. Although the nature Vantaa is undoubtedly electronic, its aesthetic is indeed organic, vitalized with complex textures and patterns that ripple on their very own. Unlike the pristine surgical lab of Raster-Noton’s catalog, the sound on Vantaa is incredibly dense, at times suffocating the barely audible structure. Yet further listens allow the protagonist to peel back the layers to reveal a fragile growing sprout of a new life, beneath that wobble, grit and grime.
“The tracks oscillate between a decadent, greyish, post-industrial sound cloud and the intimate atmosphere of a vast and desolate Finnish landscape. Ripatti plays with tiny rhythmic bricks that drift and collapse, but nevertheless create spaces that radiate calmness and tranquility. Being an experienced producer, he uses his know-how to layer compact sound fabrics in unusual ways. In this case, these elements arouse associations with gushing water, crackling wood, or growing grass.”
Vantaa marks a 10th anniversary release for Riptatti as Vladislav Delay. By now, the output of his moniker has been perfected to perfectly blend organic matter into his staple mixture of dub and techno. Ripatti sonic approach to produce seemingly random elements, fractured motifs and syncopated percussion has earned him worldwide recognition. His undeniable contribution to evolution of electronic music is archived by labels such as Mille Plateaux, Leaf, BPitch Control, and his very own Huume Recordings. I’m happy to see a relationship form between Ripatti and Raster-Noton, and will watch the development of this hopefully lasting collaboration for the years to come.